1
00:00:07,080 --> 00:00:10,914
(Man) There are moments in life
when we all need a little help.

2
00:00:14,640 --> 00:00:18,713
(Woman)
Mr Bernard is a very mysterious man.

3
00:00:18,879 --> 00:00:22,474
| know this is mysterious Morocco,
but we're not gonna lose our head.

4
00:00:31,879 --> 00:00:34,393
- (Woman) We're being watched.
— Oh, come on.

5
00:00:34,559 --> 00:00:36,754
(Whistle Blows)

6
00:00:36,919 --> 00:00:39,308
Hey, look there.

7
00:00:42,999 --> 00:00:48,312
A statesman is to be killed,
assassinated in London soon.

8
00:00:48,559 --> 00:00:54,270
(Man) If you tell even one word,
your little boy will be in serious danger.

9
00:00:54,439 --> 00:00:57,237
\{Man 2) Those people kidnapped your
boy in order to keep your mouth shut.

10
00:00:57,400 --> 00:00:59,834
(Sobbing) | want my boy!

11
00:00:59,999 --> 00:01:03,469
\{Man) | don’t care who you fellas are
gonna kill. All | want's that boy.

12
00:01:03,640 --> 00:01:06,108
- (Woman) Why didn’t you tell me?
- Where is he?

13
00:01:06,280 --> 00:01:08,669
- Now sit down.
- How dare you!

14
00:01:08,839 --> 00:01:11,114
Ben, what can we do by ourselves?

15
00:01:15,360 --> 00:01:17,555
You have a very nice little boy, madam.

16
00:01:17,720 --> 00:01:18,948
Where is he?

17
00:01:21,159 --> 00:01:22,956
Hank McKenna!

18
00:01:28,280 --> 00:01:30,919
Where's our son?
Where have you got him?

19
00:01:35,559 --> 00:01:37,550
(Screams)

20
00:01:43,360 --> 00:01:44,998


21
00:01:46,959 --> 00:01:48,870
Daddy!

22
00:01:53,400 --> 00:01:56,312
It's a scene from our new picture,
The Man Who Knew Too Much.

23
00:01:56,480 --> 00:02:00,075
As you know, Alfred Hitchcock
has an uncanny knack

24
00:02:00,239 --> 00:02:02,707
for coming up with
the unusual in entertainment.

25
00:02:02,880 --> 00:02:05,713
Well, The Man Who Knew Too Much
can certainly be put in that category.

26
00:02:07,280 --> 00:02:12,149
\{O'Connell\} In the early ‘30s, my
father developed, with Charles Bennett,

27
00:02:12,319 --> 00:02:15,516
a project based around
the Bulldog Drummond stories.

28
00:02:15,679 --> 00:02:19,069
Bulldog Drummond was
a kind of amateur James Bond.

29
00:02:19,240 --> 00:02:21,834
And one of the story lines
they were working on

30
00:02:22,000 --> 00:02:23,911
involved the kidnapping of a baby

31
00:02:24,080 --> 00:02:26,469
and international spying.

32
00:02:26,639 --> 00:02:28,550
When that project fell through,

33
00:02:28,720 --> 00:02:30,950
they kept the frame of the story

34
00:02:31,439 --> 00:02:34,078
and reshaped it into
The Man Who Knew Too Much.

35
00:02:37,080 --> 00:02:40,038
My father directed the first version of
The Man Who Knew Too Much

36
00:02:40,759 --> 00:02:42,954
in England in 1934.

37
00:02:43,119 --> 00:02:45,110
The film was a huge success

38
00:02:45,840 --> 00:02:50,118
and really built my father's reputation
in England and in America as well.

39
00:02:54,119 --> 00:02:57,077
The title was taken from
a collection of short stories

40
00:02:57,240 --> 00:02:59,913
entitled The Man Who Knew Too Much,

41
00:03:00,479 --> 00:03:02,868
by English novelist, G K Chesterton.

42
00:03:03,039 --> 00:03:05,155
My father owned some of the stories

43
00:03:05,320 --> 00:03:08,995
and simply decided to use
the title for the film.

44
00:03:09,440 --> 00:03:15,515
\{Murmuring) (Whispering)
Don't breathe a word... to anyone.

45
00:03:19,159 --> 00:03:23,118
There were a lot of amazing
visual sequences in the film.

46
00:03:23,279 --> 00:03:25,110
(Man) It smashed the window.

47
00:03:25,280 --> 00:03:28,352
(0'Connell) A lot of humour,
despite the grim subject matter.

48
00:03:29,000 --> 00:03:31,036
Poor old boy.

49
00:03:31,200 --> 00:03:33,316
- Five shillings.
- Five shillings.

50
00:03:33,479 --> 00:03:35,913
Give him five shillings for me,
will you, please?

51
00:03:41,360 --> 00:03:46,195
\{0'Connell) And a great, climactic scene
during a concert at the Albert Hall.

52
00:03:46,360 --> 00:03:50,239
(Choir)

53
00:04:02,959 --> 00:04:04,358
(Screams)

54
00:04:07,240 --> 00:04:09,834
Sounds like it went off all right.

55
00:04:09,999 --> 00:04:11,796
| hope so, for all our sakes.

56
00:04:12,200 --> 00:04:15,351
(O'Connell) The film
was released in December, 1934,

57
00:04:15,520 --> 00:04:17,397
and was very well received.

58
00:04:17,560 --> 00:04:22,680
My father discussed doing a remake
of it in the United States in 1941,

59
00:04:22,840 --> 00:04:26,196
but he set the project aside
until 1956.

60
00:04:26,759 --> 00:04:30,069
Although 1 think my father was proud
of his original version

61
00:04:30,240 --> 00:04:32,071
of The Man Who Knew Too Much,

62
00:04:32,240 --> 00:04:35,835
he once told French filmmaker,
Francois Truffaut,

63
00:04:35,999 --> 00:04:38,559
that the first film
was done by an amateur

64
00:04:38,719 --> 00:04:41,108
and the remake by a professional.

65
00:04:56,200 --> 00:04:58,794
As far as the second
The Man Who Knew Too Much,

66
00:04:58,960 --> 00:05:01,155
he didn't want to remake it at all

67
00:05:01,319 --> 00:05:06,439
He didn't want to remake any of his
films, but he owed one to Paramount,

68
00:05:06,599 --> 00:05:12,117
and they felt that that was
the one that could adapt

69
00:05:12,279 --> 00:05:14,554
to present day
better than any of the others.

70
00:05:15,800 --> 00:05:17,597
Hitch said to me one day, he said,

71
00:05:17,759 --> 00:05:20,353
"Do you think we oughta remake
The Man Who Knew Too Much?’

72
00:05:20,520 --> 00:05:24,399
| said, "The Man Who Knew Too Much’?
| never heard of that title before.

73
00:05:24,560 --> 00:05:28,109
He said, "Didn't you see any of my
pictures before we worked together?”

74
00:05:28,279 --> 00:05:31,032
1 said,
"Well, I certainly never saw that one.”

75
00:05:31,200 --> 00:05:33,236
He said,
"Will you get a print and look at it

76
00:05:33,400 --> 00:05:35,868
and see whether we should
remake that picture or not?”

77
00:05:36,040 --> 00:05:39,669
So, I was able to get a print
and looked at it.

78
00:05:39,840 --> 00:05:43,799
Darling... where are you?

79
00:05:43,960 --> 00:05:45,951
(Girl\} Mommy...

80
00:05:47,359 --> 00:05:49,350
Darling?

81
00:05:49,719 --> 00:05:51,710
Betty!

82
00:05:52,680 --> 00:05:54,511
(Sobbing) Steady, old girl, steady.

83
00:05:54,680 --> 00:05:57,752
(Coleman) So, after | saw this,
1 went back to the set

84
00:05:57,920 --> 00:05:59,751
and Hitch said,
"Well, what do you think?"

85
00:05:59,919 --> 00:06:04,197
| said, "Well, Hitch, all | can say is you
and films have progressed together.”

86
00:06:04,840 --> 00:06:08,833
I never would have said that to him
if I'd known how much it'd hurt him

87
00:06:08,999 --> 00:06:10,830
but it really hurt him.

88
00:06:10,999 --> 00:06:13,467
And forever after that,
| was sorry for saying it.

89
00:06:13,640 --> 00:06:17,110
And he said, "Well, what about the gun
coming around the curtain to fire?”

90
00:06:17,280 --> 00:06:21,512
I said, "I love the touches in there,
but I'm talking about the whole story.”

91
00:06:21,679 --> 00:06:25,957
Hitch was, of course, forming
in his mind a new story completely.

92
00:06:26,119 --> 00:06:28,679
And, of course, that's what
we finally ended up making

93
00:06:28,839 --> 00:06:33,310
was a completely new story about
The Man Who Knew Too Much.

94
00:06:37,199 --> 00:06:39,872
In the case of
The Man Who Knew Too Much,

95
00:06:40,039 --> 00:06:44,078
uh, Alfred Hitchcock
wouldn't let me see...

96
00:06:44,640 --> 00:06:47,552
the early picture or read the script.

97
00:06:47,719 --> 00:06:49,550
He wanted me to stay away from it.

98
00:06:49,720 --> 00:06:52,598
What he did
was sit me down and tell me a story.

99
00:06:53,080 --> 00:06:58,393
And | took notes from it and went
home and did an outline based on that.

100
00:06:58,759 --> 00:07:01,751
I had no knowledge at that time
of the early picture.

101
00:07:01,920 --> 00:07:06,118
If | did, | saw it when | was 12 years
old or something and didn't recall it.

102
00:07:06,279 --> 00:07:09,874
Betty. You know your child is going
to cost me the match, don't you?

103
00:07:10,040 --> 00:07:12,031
Well, she's your child
as well as mine, isn't she?

104
00:07:12,199 --> 00:07:15,032
Well, if | lose this game,
I'l disown her forever.

105
00:07:17,319 --> 00:07:20,834
(Hayes) I created those characters
partly out of what Hitch told me,

106
00:07:20,999 --> 00:07:23,957
and partly out of what | envisioned
they should be like.

107
00:07:24,119 --> 00:07:28,590
Daddy, you sure I've never
been to Africa before?

108
00:07:28,760 --> 00:07:31,194
It looks familiar.

109
00:07:31,360 --> 00:07:34,955
We saw the same scenery last
summer driving to Las Vegas.

110
00:07:35,120 --> 00:07:38,317
(Hayes) Hitch thought
intensely about each scene.

111
00:07:38,480 --> 00:07:43,110
He'd start to dissect it and
tell me how he would use the camera.

112
00:07:43,280 --> 00:07:45,999
On the way to the studio,
he'd pick one scene

113
00:07:46,160 --> 00:07:50,472
and think about it all the way,
on how many ways he could do it.

114
00:07:50,639 --> 00:07:54,029
And going home, he may have
picked the same scene or another one.

115
00:07:54,199 --> 00:07:56,474
And so used his time valuably.

116
00:07:56,640 --> 00:07:58,676
Well, this eases the pain.

117
00:07:58,839 --> 00:08:01,194
- What pain, Mommy?
- Just an expression,

118
00:08:01,360 --> 00:08:03,191
Can you take care of the driver?

119
00:08:03,360 --> 00:08:05,191
My name's McKenna, Dr McKenna.

120
00:08:05,360 --> 00:08:08,193
I'll take care of everything, sir.

121
00:08:08,360 --> 00:08:12,194
(Hayes) Hitch would insert his
own little Hitchcockian touches.

122
00:08:12,360 --> 00:08:16,239
There's no question of it. And it's,
of course, what made the films good.

123
00:08:16,399 --> 00:08:18,867
They had solid people.

124
00:08:19,039 --> 00:08:21,314
They had good dialogue.

125
00:08:21,480 --> 00:08:26,508
And mechanically, he had such
an expertise for suspense.

126
00:08:27,040 --> 00:08:30,999
He inserted it where you least
suspected it was going to be.

127
00:08:39,319 --> 00:08:42,629
(Speaking French\}

128
00:08:42,799 --> 00:08:45,632
(Coleman) While Hitch
started working on his screenplay,

129
00:08:45,799 --> 00:08:51,271
Doc Erickson, our production manager,
and | flew to Marrakech

130
00:08:51,440 --> 00:08:54,591
and met with the officials there.

131
00:08:59,479 --> 00:09:01,037
You couldn't make a film there

132
00:09:01,199 --> 00:09:03,952
until they had read
and approved the screenplay

133
00:09:04,120 --> 00:09:06,680
as is the case in most countries.

134
00:09:06,839 --> 00:09:10,514
And | told this story
to the superintendent...

135
00:09:10,680 --> 00:09:13,592
that was in charge of people
coming there to make films.

136
00:09:13,759 --> 00:09:15,750
Then he told me about Ramadan.

137
00:09:15,920 --> 00:09:20,152
He said, "You know, Ramadan
starts about the third of June,

138
00:09:20,319 --> 00:09:23,595
and you will not be able
to film here during Ramadan,

139
00:09:23,759 --> 00:09:27,434
because the people,
they go without food or water

140
00:09:27,600 --> 00:09:30,194
from sunrise to sunset.

141
00:09:30,360 --> 00:09:35,388
‘It's very difficult for you, so you
must plan to be here early enough

142
00:09:35,560 --> 00:09:40,759
to finish filming
before Ramadan starts.”

143
00:09:42,359 --> 00:09:43,678


144
00:09:45,319 --> 00:09:48,311
We went out and looked for locations

145
00:09:48,480 --> 00:09:51,153
that we thought would be
fine for the picture.

146
00:09:51,319 --> 00:09:54,834
- Isn't this exciting?
- Just like the county fairs.

147
00:09:55,000 --> 00:09:57,389
They got everything
but the balloon ascension.

148
00:09:57,560 --> 00:10:00,791
And then Hitch had to
concentrate on the casting.

149
00:10:00,959 --> 00:10:02,551
What's so funny about that?

150
00:10:05,039 --> 00:10:07,394
Hitch and Jimmy Stewart
had already agreed

151
00:10:07,560 --> 00:10:10,233
to make The Man Who Knew Too Much

152
00:10:11,159 --> 00:10:15,596
so that part of the casting was settled
before we worked on the screenplay.

153
00:10:16,520 --> 00:10:19,557
Daddy, come with us.
We're going to see the medicine man.

154
00:10:19,720 --> 00:10:22,553
- Maybe you'll learn something, Daddy.
- | wouldn't be a bit surprised.

155
00:10:22,720 --> 00:10:26,156
\{0'Connell) With Jimmy Stewart,
they were very, very good friends.

156
00:10:26,319 --> 00:10:30,597
And the reason that he loved
using him so much is that...

157
00:10:30,759 --> 00:10:33,557
he typifies the ordinary man.

158
00:10:33,720 --> 00:10:38,236
So that a man goes to the movies
with his wife,

159
00:10:38,399 --> 00:10:42,915
he can sort of imagine him doing
the things up on the screen ,

160
00:10:43,079 --> 00:10:46,992
because Jimmy Stewart, you know,
reminded bim of himself.

161
00:10:47,159 --> 00:10:49,275
Just a minute. Just a minute.

162
00:10:49,440 --> 00:10:51,908
| want you to take these.
They'll relax you.

163
00:10:52,079 --> 00:10:55,276
Relax me? I'm so relaxed, I'm tired.

164
00:10:55,440 --> 00:10:59,149
(Coleman) Then Hitch started talking
about casting his wife,

165
00:10:59,319 --> 00:11:03,198
and he had made up his mind
he wanted Doris Day.

166
00:11:03,359 --> 00:11:06,795
And | didn't want Doris Day
cos | only knew her as a singer.

167
00:11:06,959 --> 00:11:09,075
She's a beautiful singer
and a beautiful voice,

168
00:11:09,240 --> 00:11:11,435
but | knew her as a singer
with those famous bands.

169
00:11:11,839 --> 00:11:16,037
And | was afraid she couldn't do
the dramatic scenes in Marrakech ,

170
00:11:16,199 --> 00:11:20,431
where she finds that her son
has been kidnapped.

171
00:11:26,079 --> 00:11:30,311
And so | fought Hitch constantly
against her, but he finally won out

172
00:11:30,480 --> 00:11:34,632
and cast her, and she turned out to be
absolutely perfect for that scene.

173
00:11:34,800 --> 00:11:38,554
They've taken him away.

174
00:11:38,720 --> 00:11:41,518
But Mrs Drayton brought
him back to the hotel.

175
00:11:41,680 --> 00:11:44,638
Mrs Drayton never got back
to the hotel. Neither did Hank.

176
00:11:44,799 --> 00:11:46,630
- But Mr Drayton -
- Listen, Jo.

177
00:11:46,800 --> 00:11:49,917
Mr Drayton checked out
of the hotel 40 minutes ago.

178
00:11:50,079 --> 00:11:52,115
Now come on, Jo. Now sit down.

179
00:11:52,279 --> 00:11:54,952
How dare you!
You gave me sedatives!

180
00:11:55,120 --> 00:11:57,509
Sit down.
(Sobbing)

181
00:11:57,680 --> 00:11:59,591
- Jo, please.
- Why didn't you tell me?

182
00:11:59,759 --> 00:12:02,956
- | wasn't sure until now.
- You did! You did!

183
00:12:03,120 --> 00:12:06,112
\{0'Connell) The sequence
where Doris Day is given the drug

184
00:12:06,279 --> 00:12:10,477
before Jimmy Stewart tells her
that their son has been kidnapped...

185
00:12:10,639 --> 00:12:14,552
Doris Day was excellent in that.
She was wonderful in that.

186
00:12:14,719 --> 00:12:18,951
And that's when he realised
what a good actress she was.

187
00:12:19,519 --> 00:12:22,079
- (Mumbling)
- Jo, please. Jo.

188
00:12:22,240 --> 00:12:23,912
Where is he, Ben?

189
00:12:27,160 --> 00:12:31,392
(Hayes) I felt the relationship
between the husband and wife

190
00:12:31,560 --> 00:12:34,074
was a reasonably sound relationship.

191
00:12:34,240 --> 00:12:37,994
They loved each other.
They had their spats now and then.

192
00:12:38,159 --> 00:12:41,788
She made the decision to marry
a doctor in a small town...

193
00:12:41,959 --> 00:12:44,678
instead of staying on the stage.

194
00:12:44,840 --> 00:12:47,308
So she had... He didn't force her to.

195
00:12:47,479 --> 00:12:52,872
She may have regrets about it,
but she was solely responsible.

196
00:12:53,040 --> 00:12:56,271
Honey?

197
00:12:56,440 --> 00:13:01,560
Now we don't have much time. You'll
have to get up and start getting ready.

198
00:13:01,719 --> 00:13:04,916
Please, Jo.

199
00:13:05,079 --> 00:13:07,877
Please, Jo.

200
00:13:08,040 --> 00:13:11,316
(Man) | was at Paramount,
and 1 was kind of under contract there,

201
00:13:11,639 --> 00:13:16,872
and | was doing a picture
called Vagabond King.

202
00:13:17,280 --> 00:13:20,238
And Bob Burks was the cameraman.

203
00:13:20,400 --> 00:13:23,631
And, of course,
Bob had worked with Hitchcock.

204
00:13:23,799 --> 00:13:26,871
And apparently,
Hitch asked Bob, he says,

205
00:13:27,039 --> 00:13:31,032
"You know of any young art directors
you think I'd get along with?”

206
00:13:31,199 --> 00:13:33,076
And he says, "Yeah,
I'm working with one right now.”

207
00:13:33,960 --> 00:13:38,556
In my wildest dreams, | never thought
I'd ever work with Alfred Hitchcock.

208
00:13:39,279 --> 00:13:43,318
| had a meeting with him,
and we got along fine.

209
00:13:43,479 --> 00:13:47,313
And so he chose me to do
The Man Who Knew Too Much.

210
00:13:47,479 --> 00:13:51,074
It was, it was quite an experience,
and, gee, it was hot.

211
00:13:51,600 --> 00:13:55,275
You just couldn't stand on the tarmac,
you had to get in the shade.

212
00:13:55,440 --> 00:13:57,078
Towards the end of the picture,

213
00:13:57,240 --> 00:14:02,234
Hitch was directing from the front seat
of an old Chevrolet.

214
00:14:02,399 --> 00:14:05,471
The driver would honk the horn,
and then the assistant would come over

215
00:14:05,639 --> 00:14:08,676
and Hitch would tell him what they
wanted him to do. I'll never forget.

216
00:14:10,120 --> 00:14:12,315
In those days, we all -
especially with Hitch -

217
00:14:12,479 --> 00:14:14,470
we aff wore suits and ties.

218
00:14:15,079 --> 00:14:17,752
You know, nowadays, you got to look
like you're shot out of a cannon.

219
00:14:17,920 --> 00:14:21,435
They'd think you were off to a funeral
if you wore a jacket and a tie.

220
00:14:21,599 --> 00:14:26,354
But Marrakech was the first time
I've ever seen Hitch in a T-shirt

221
00:14:27,319 --> 00:14:30,117
But it was buttoned right up .
But it was short-sleeved.

222
00:14:30,279 --> 00:14:32,588
And he was cute, | remember.

223
00:14:32,759 --> 00:14:35,478
And the flies buzzing around.
He was... (Blows)

224
00:14:35,639 --> 00:14:40,315
He could do it better than me,
but he was blowing the flies off of him.

225
00:14:42,040 --> 00:14:44,679
(Coleman)
When Hitch came to Marrakech,

226
00:14:44,839 --> 00:14:50,038
he said, "Ask Doc to send down
some Dover sole from London.”

227
00:14:50,199 --> 00:14:52,554
And | said, "Hitch, you won't have
to have it sent down from London.”

228
00:14:52,719 --> 00:14:55,153
| said, "We're gonna take you
to dinner tonight,

229
00:14:55,719 --> 00:14:58,028
and they have the best
Dover sole in the world.”

230
00:14:58,199 --> 00:15:01,396
He said, I don't believe it.”
So, we went to this restaurant.

231
00:15:02,040 --> 00:15:04,679
We walked in and, of course,
everybody was sitting on the floor.

232
00:15:04,839 --> 00:15:08,195
(Chuckles) He says,
"You mean | gotta sit on the floor?”

233
00:15:08,360 --> 00:15:12,911
I said, "No, they have another room
for people that want tables.”

234
00:15:17,479 --> 00:15:20,710
That scene was always in,
but Hitch decided to do it that way

235
00:15:20,880 --> 00:15:23,553
when he saw the way
people sat on the floor.

236
00:15:28,600 --> 00:15:33,799
\{O'Connell\} | think my father always
wanted to have humour in his pictures.

237
00:15:33,959 --> 00:15:35,790
And in The Man Who Knew Too Much,

238
00:15:35,959 --> 00:15:40,430
obviously the greatest humour
is the eating in the restaurant.

239
00:15:41,120 --> 00:15:43,031
(All Laughing\}

240
00:15:43,199 --> 00:15:47,272
And | think he and Jimmy
just worked that out.

241
00:15:47,440 --> 00:15:51,433
Boy, could | use this hand now.
| can't...

242
00:15:51,599 --> 00:15:53,715
It's all right.
Nobody minds. No one minds.

243
00:15:53,880 --> 00:15:55,871
(Stewart)
I play the part of an American doctor.

244
00:15:56,480 --> 00:15:58,755
Doris Day's my wife.

245
00:15:58,919 --> 00:16:01,149
And the story's about our trip abroad

246
00:16:01,319 --> 00:16:04,470
that started out as a holiday
and ended up as a nightmare.

247
00:16:04,640 --> 00:16:06,949
\{Whistle Blowing)

248
00:16:10,599 --> 00:16:13,397
Hey, hey, look there.

249
00:16:15,880 --> 00:16:18,440
You'd better stand back.
Go on. Stand back.

250
00:16:18,600 --> 00:16:20,716
(O'Connell)
When Louis Bernard is murdered,

251
00:16:20,880 --> 00:16:24,509
my father wanted the paint
on his face to come off

252
00:16:24,680 --> 00:16:25,999
on Jimmy Stewart's hands.

253
00:16:26,159 --> 00:16:30,471
They made many tests,
but the make-up would not come off.

254
00:16:30,639 --> 00:16:34,154
So, finally, Daniel Gelin,
who portrayed the victim,

255
00:16:34,319 --> 00:16:36,549
came up with a great idea.

256
00:16:37,400 --> 00:16:40,790
He said, "Jimmy Stewart should have
white powder on his hands,

257
00:16:40,959 --> 00:16:44,747
And that's how they did it,
and it looks very convincing.

258
00:16:57,319 --> 00:16:59,958
(Coleman)
As Ramadan came closer and closer,

259
00:17:00,120 --> 00:17:04,636
and the people began to realise it,
we rushed all of Hitchcock's work

260
00:17:04,799 --> 00:17:06,790
to have it done before Ramadan.

261
00:17:06,959 --> 00:17:11,635
And as soon as he finished,
then he flew out for London

262
00:17:11,799 --> 00:17:14,074
to get ready to work
in the Royal Albert Hall,

263
00:17:14,240 --> 00:17:19,189
And | started my work there,
and | had about ten days work there,

264
00:17:19,360 --> 00:17:23,876
but after the fifth day, we were now
in the third day of Ramadan,

265
00:17:24,039 --> 00:17:26,473
and the people were
getting very unruly.

266
00:17:26,640 --> 00:17:32,158
On the fourth morning when | arrived,
there were armed, uniformed soldiers

267
00:17:32,319 --> 00:17:34,753
on the roofs of all the buildings...

268
00:17:34,919 --> 00:17:37,558
to be able to control the crowd.

269
00:17:37,719 --> 00:17:40,358
And we started working,
but before noon,

270
00:17:40,520 --> 00:17:43,830
the superintendent said to me,
"Mr Coleman, will you please stop now,

271
00:17:44,000 --> 00:17:46,560
because I'm not going to be
able to control the people.”

272
00:17:46,719 --> 00:17:50,314
We had to stop. | had, oh, | guess
two or three days work left,

273
00:17:50,480 --> 00:17:52,198
but we had what we needed.

274
00:17:52,799 --> 00:17:54,551
And that was just the beginning.

275
00:17:54,719 --> 00:17:56,198
From there, we flew to London,

276
00:17:56,360 --> 00:17:59,477
for backgrounds
of a whole strange series of events

277
00:17:59,640 --> 00:18:03,758
that ended up that final night
in the great concert hall,

278
00:18:03,919 --> 00:18:06,149
where the cue for murder...

279
00:18:06,319 --> 00:18:08,787
was one single crash of the cymbals.

280
00:18:11,199 --> 00:18:14,794
(Coleman) Before | arrived in London,
I sent Kay Selby,

281
00:18:15,399 --> 00:18:18,232
who was the head
of the Paramount office in London,

282
00:18:18,400 --> 00:18:21,551
the scenes about the taxidermist shop.

283
00:18:21,719 --> 00:18:24,358
And when we arrived,
she said, "I have it all set for you,

284
00:18:24,519 --> 00:18:26,430
to go and see the taxidermist shop.”

285
00:18:26,600 --> 00:18:28,591
So, we got in our car
and drove to a place.

286
00:18:28,760 --> 00:18:32,469
We got out of the car, and | looked at
this beautiful, great, big glass window,

287
00:18:32,640 --> 00:18:37,350
a beautiful polished wooden floor,
with white bear rugs on the floor,

288
00:18:37,520 --> 00:18:40,114
and heads and things all on the walls.

289
00:18:40,280 --> 00:18:43,238
A beautiful place.
Not what we wanted at all.

290
00:18:43,400 --> 00:18:46,756
And Kay Selby went into the office
and brought out a man in a tail coat,

291
00:18:46,919 --> 00:18:49,387
and with morning clothes, you know,

292
00:18:49,880 --> 00:18:52,189
and introduced me to him and he says,

293
00:18:52,359 --> 00:18:56,796
"Why can't you Americans do things
in a proper English manner?”

294
00:18:56,960 --> 00:18:59,474
You know, and | looked at him
and said, "What do you mean?”

295
00:18:59,640 --> 00:19:02,871
He said, "Why couldn't you have
communicated with me directly?”

296
00:19:03,039 --> 00:19:06,714
| said, "Kay, | don't have to listen
to this kind of story. Let's go.”

297
00:19:06,879 --> 00:19:10,269
So, we turned and walked out.
| said, "Kay, didn't you understand

298
00:19:10,439 --> 00:19:13,317
that this had to be in a working shop?”

299
00:19:13,479 --> 00:19:16,312
So she said,
"I have one place for you to see.”

300
00:19:16,479 --> 00:19:20,870
“It's, it's in the low-rent district.”

301
00:19:21,519 --> 00:19:24,636
And we went out,
and it was just ideal.

302
00:19:24,799 --> 00:19:27,711
And the owner of this place,
he said, "It's fine.”

303
00:19:27,879 --> 00:19:32,873
He says, | won't accept a penny
from you. I'd like you to use my shop.”

304
00:19:33,039 --> 00:19:34,870
Good afternoon, sir.

305
00:19:35,039 --> 00:19:37,951
| am Ambrose Chappell.
What can | do for you?

306
00:19:38,480 --> 00:19:41,074
(O'Connell) My father loved to put

307
00:19:41,240 --> 00:19:44,391
a few little red herrings in his pictures.

308
00:19:44,559 --> 00:19:48,711
Such as using the name
"Ambrose Chappell,”

309
00:19:48,879 --> 00:19:50,870
and them thinking it was a taxidermist,

310
00:19:51,039 --> 00:19:52,916
and then finding out it's a place.

311
00:19:55,400 --> 00:19:57,277
William! Edgar! Davis! Help!

312
00:20:11,199 --> 00:20:13,030
(McKenna) I made a mistake.

313
00:20:13,200 --> 00:20:18,228
\{O'Connell\} My father felt that he had
to have a break in the suspense...

314
00:20:18,400 --> 00:20:23,793
Because you can only take suspense
for a certain amount of time.

315
00:20:23,960 --> 00:20:27,350
It can't stay with you for an hour
and a half, or a two hour movie.

316
00:20:27,520 --> 00:20:29,351
You have to relieve it.

317
00:20:29,520 --> 00:20:34,116
And one obvious example
was Ambrose Chappell.

318
00:20:34,280 --> 00:20:37,636
And then, you know,
then they go on this wild-goose chase.

319
00:20:37,799 --> 00:20:40,791
- Jo?
- Ben, what happened?

320
00:20:40,959 --> 00:20:45,874
- No, it was a wild-goose chase.
- It must be the chapel. | found it.

321
00:20:46,039 --> 00:20:47,518
It's just a short way from here.

322
00:20:47,679 --> 00:20:50,477
(Bumstead) Hitch was a master
at going on location

323
00:20:51,160 --> 00:20:53,515
and getting all the long shots
and everything.

324
00:20:53,679 --> 00:20:56,716
And, in other words,
he gets the meat on location,

325
00:20:56,879 --> 00:21:00,838
and then you do everything else
back in the comfort of the stages.

326
00:21:06,319 --> 00:21:08,514
There it is.

327
00:21:08,679 --> 00:21:10,670
Whenever he shot
the exterior of a building

328
00:21:10,839 --> 00:21:13,194
that | had to do the interior of,

329
00:21:13,359 --> 00:21:18,308
| always went inside and took
some photos and looked at the building,

330
00:21:18,479 --> 00:21:20,674
cos many times Hitch would ask me,

331
00:21:20,839 --> 00:21:24,548
‘Bummy, does this set look anything
like the interior of the building

332
00:21:24,720 --> 00:21:27,359
we filmed the exterior of, you know?"

333
00:21:27,520 --> 00:21:30,353
And apparently, he'd looked at it,
you know, and I'd say "Yes".

334
00:21:30,519 --> 00:21:34,956
So, you know, | mean,
| was very careful that way.

335
00:21:35,120 --> 00:21:37,111
(Congregation Singing)

336
00:21:40,719 --> 00:21:43,597
\{Bumstead) One thing about Hitch,
when you did a set for him,

337
00:21:43,759 --> 00:21:46,557
he shot the whole set,
you know what | mean?

338
00:21:47,760 --> 00:21:50,718
Some directors, you do a nice set,
and they get themselves in the corner

339
00:21:50,879 --> 00:21:53,074
and all you ever see is the corner.

340
00:21:53,240 --> 00:21:55,674
Well, this is a pleasant surprise, Doctor.

341
00:21:55,840 --> 00:21:57,990
Where's my boy, Drayton?

342
00:21:58,160 --> 00:22:00,390
He's upstairs. As a matter of fact,

343
00:22:00,559 --> 00:22:03,073
you've come just in time
to help my wife with his food.

344
00:22:03,240 --> 00:22:06,596
It seems Hank doesn't care very much
for our English cooking.

345
00:22:06,760 --> 00:22:09,593
What do you want? I'll give you money.

346
00:22:09,759 --> 00:22:11,795
I'll keep my mouth shut.
All | want is my boy.

347
00:22:11,960 --> 00:22:17,034
And what about your wife? Did she go
out just to get a breath of fresh air?

348
00:22:17,199 --> 00:22:21,112
(Bumstead) | learned how Hitch
laid out shots, how he cut films.

349
00:22:21,280 --> 00:22:24,636
You know, Hitch shot very little film,

350
00:22:24,799 --> 00:22:27,552
and there's really only one way
you could put it together.

351
00:22:27,719 --> 00:22:30,677
| mean, from what | noticed, you know,

352
00:22:30,839 --> 00:22:33,876
he knew what he wanted to do
so well.

353
00:22:34,039 --> 00:22:35,950
As far as we can make out,
there's no sign of life.

354
00:22:36,119 --> 00:22:38,952
- Report back here.
- Very good, sir.

355
00:22:39,119 --> 00:22:41,838
Walden, you standby
till the car arrives from The Yard.

356
00:22:41,999 --> 00:22:45,309
- You're not leaving.
- Orders. Can we give you a lift?

357
00:22:47,000 --> 00:22:49,912
- Take me to Albert Hall.
- I'm afraid it's a bit off our beat.

358
00:22:50,080 --> 00:22:52,719
- We could drop you at a taxi rank.
- Alright.

359
00:22:57,319 --> 00:22:59,708
My father, of course, knew
the Albert Hall so well,

360
00:22:59,879 --> 00:23:02,677
because he was a great lover
of music when he was,

361
00:23:02,840 --> 00:23:05,115
you know, a young boy in England.

362
00:23:05,280 --> 00:23:10,070
And he loved to use
famous places in his movies.

363
00:23:12,520 --> 00:23:17,514
He loved to travel early on.
He and my mother loved travelling.

364
00:23:17,679 --> 00:23:21,035
And we would go to Switzerland
almost every Christmas.

365
00:23:22,600 --> 00:23:24,955
So, he would find a place,

366
00:23:25,120 --> 00:23:29,636
and then he would see how he could
incorporate it into the story.

367
00:23:37,480 --> 00:23:42,235
\{Bumstead) We started shooting
in Albert Hall and we shot in the lobby.

368
00:23:44,959 --> 00:23:47,678
And the long shots in the hall.

369
00:23:48,839 --> 00:23:53,151
- Your tickets, madam?
- I'm sorry. I'm looking for someone.

370
00:23:53,319 --> 00:23:56,072
And then |... We did the boxes,

371
00:23:56,240 --> 00:24:00,074
and a lot of that stuff
| reproduced back at the studio.

372
00:24:00,639 --> 00:24:05,349
Hitch liked to go up to a certain point,
then I'd have to duplicate it back here.

373
00:24:05,520 --> 00:24:06,953
(Applause)

374
00:24:12,840 --> 00:24:15,798
\{Man) More than any of the other
Herrmann-Hitchcock collaborations,

375
00:24:15,959 --> 00:24:19,076
music is almost a character
in The Man Who Knew Too Much.

376
00:24:19,240 --> 00:24:21,754
It's very important.
It's right there in the opening titles,

377
00:24:21,919 --> 00:24:26,037
letting us know that music is
going to be key to this story.

378
00:24:26,200 --> 00:24:29,351
And, naturally, that was a wonderful
opportunity for Bernard Herrmann,

379
00:24:29,519 --> 00:24:33,228
because he loved projects when music
was featured very prominently,

380
00:24:33,399 --> 00:24:36,869
and it's a sign of just how much
Hitchcock trusted Hermann...

381
00:24:37,039 --> 00:24:40,031
after just one previous collaboration.

382
00:24:40,199 --> 00:24:43,635
The filming went very well,
and the orchestra was very impressed

383
00:24:43,799 --> 00:24:46,916
with Bernard Herrmann's knowledge,
his musicality,

384
00:24:47,080 --> 00:24:50,550
his ability to work in both the film
and concert media.

385
00:24:51,079 --> 00:24:55,436
After filming, the London Symphony
gave him a book, which they inscribed,

386
00:24:55,600 --> 00:24:58,239
"To Bernard Herrmann,
the man who knows so much.”

387
00:24:55,600 --> 00:24:59,115
1 think it's no accident
that there is so little dramatic scoring

388
00:25:02,559 --> 00:25:05,596
in The Man Who Knew Too Much,
because Herrmann knew...

389
00:25:05,759 --> 00:25:08,319
how important music was
going to be at the climax,

390
00:25:05,759 --> 00:25:07,989
so he doesn’t over score
the rest of the film.

391
00:25:10,880 --> 00:25:13,838
In a way, he makes us wait
for the big musical statement.

392
00:25:14,000 --> 00:25:18,437
But there are a few wonderful cues
before that sequence at the Albert Hall,

393
00:25:18,599 --> 00:25:20,669
There's a very exciting main title,

394
00:25:20,839 --> 00:25:24,434
which utilises percussion
very effectively and dramatically.

395
00:25:32,039 --> 00:25:38,558
And there are some very imaginative
Herrmann cues throughout the score.

396
00:25:39,199 --> 00:25:41,633
For example, when they get
the telephone call about the kidnapping,

397
00:25:41,799 --> 00:25:44,029
there's a wonderful cue
that sort of looks ahead

398
00:25:44,200 --> 00:25:48,113
to some of the Herrmann music
for films like, say, Vertigo.

399
00:25:48,280 --> 00:25:50,271
\{Phone Clicking)

400
00:25:57,919 --> 00:26:00,592
Or when Jimmy Stewart
is going to the taxidermist,

401
00:26:00,760 --> 00:26:03,718
there's a wonderful kind of music
that Herrmann could write to suggest

402
00:26:03,880 --> 00:26:06,792
the anxiety that people
were feeling in this situation,

403
00:26:06,959 --> 00:26:11,271
as well as to make that anxiety
be felt in the audience as well.

404
00:26:23,239 --> 00:26:26,072
But, by and large,
Herrmann makes us wait

405
00:26:26,239 --> 00:26:31,154
until we reach the Albert Hall and
finally music becomes part of the story.

406
00:26:49,079 --> 00:26:51,877
The original work was
"The Storm Clouds Cantata,”

407
00:26:52,039 --> 00:26:56,157
written by an Australian-born
composer named Arthur Benjamin.

408
00:27:00,439 --> 00:27:06,150
Hitchcock gave Herrmann the chance
to write a new concert work

409
00:27:06,319 --> 00:27:08,435
for the climax of the film,
set at the Albert Hall,

410
00:27:08,599 --> 00:27:11,989
and it was a wonderful showpiece
for a composer.

411
00:27:12,160 --> 00:27:17,359
Most composers would have jumped
at the chance to write something new.

412
00:27:17,520 --> 00:27:19,750
But Bernard Herrmann
so admired the music

413
00:27:19,919 --> 00:27:21,910
that had been written
by Arthur Benjamin

414
00:27:22,079 --> 00:27:24,673
for the earlier 1934 version
of The Man Who Knew Too Much,

415
00:27:24,839 --> 00:27:27,831
that he chose to keep that music.

416
00:27:27,999 --> 00:27:30,877
He said that he didn’t think anyone
could write anything better

417
00:27:31,039 --> 00:27:32,950
than what Benjamin had done.

418
00:27:39,359 --> 00:27:42,112
Herrmann did reorchestrate
the music to some degree.

419
00:27:42,280 --> 00:27:44,236
He made it bigger.
He took advantage of the fact

420
00:27:42,280 --> 00:27:44,953
that he had
the London Symphony at his disposal.

421
00:27:47,239 --> 00:27:51,118
And | think it is even more effective
in the remake than in the first film.

422
00:27:57,599 --> 00:28:00,432
(Hayes) In the end of that picture,
Jimmy Stewart made a comment

423
00:28:00,600 --> 00:28:04,115
that they threw out all of the dialogue
in the Albert Hall scene.

424
00:28:04,280 --> 00:28:06,669
Well, it's not true
that they threw it out.

425
00:28:06,840 --> 00:28:10,310
We had written a scene
and written it with dialogue

426
00:28:10,479 --> 00:28:13,676
to see if we could do it silent
or we needed the dialogue.

427
00:28:13,839 --> 00:28:15,670
And discovered we didn't need it.

428
00:28:15,839 --> 00:28:18,592
We had it in case we needed it.

429
00:28:31,039 --> 00:28:33,837
(Smith) In the original film
of The Man Who Knew Too Much,

430
00:28:34,000 --> 00:28:35,956
we don't really see the conductor.

431
00:28:36,120 --> 00:28:37,997
He isn't a character, if you will.

432
00:28:38,160 --> 00:28:41,357
And when Hitchcock reimagined
the sequence for the remake,

433
00:28:41,959 --> 00:28:45,952
he wanted to make the conductor
more featured in the sequence.

434
00:28:46,120 --> 00:28:48,998
Well, then, the question was,
"Who do we hire to be the conductor?”

435
00:28:49,160 --> 00:28:50,479
His choice was finally made,

436
00:28:50,639 --> 00:28:54,871
and I'm guessing it was Hitchcock's
decision to use Bernard Herrmann,

437
00:28:55,039 --> 00:28:57,599
the man who was writing
the score for the movie.

438
00:28:57,760 --> 00:29:00,115
So, it becomes almost an in-joke,

439
00:29:00,280 --> 00:29:03,317
that we have the composer
of the dramatic score,

440
00:29:03,480 --> 00:29:07,598
who is appearing as himself
conducting the London Symphony,

441
00:29:07,760 --> 00:29:10,354
and he's featured rather prominently
in the sequence.

442
00:29:20,679 --> 00:29:25,469
The idea to have the cymbals play
such an interesting role in the story,

443
00:29:25,919 --> 00:29:28,558
was inspired by a comic strip
that showed a little man

444
00:29:28,719 --> 00:29:32,712
known as "the one-note man”
in his daily routine -

445
00:29:32,880 --> 00:29:34,916
getting up in the morning,
going to work,

446
00:29:35,080 --> 00:29:38,356
doing a single note with the cymbals
and going back home.

447
00:29:55,919 --> 00:29:57,989
(Screams)

448
00:30:12,399 --> 00:30:14,390
(Screaming)

449
00:30:20,000 --> 00:30:22,150
(Smith) Hitchcock needed a song
for the film,

450
00:30:22,319 --> 00:30:24,355
since, after all,
Doris Day was in the movie,

451
00:30:24,519 --> 00:30:27,352
and Paramount wanted a song
more than Hitchcock did.

452
00:30:27,520 --> 00:30:30,876
So, the team of Jay Livingstone
and Ray Evans was brought in.

453
00:30:31,039 --> 00:30:33,075
And Hitchcock met with them
and told them very frankly

454
00:30:33,240 --> 00:30:36,152
that Paramount wanted a song
more than he did in the movie,

455
00:30:36,319 --> 00:30:38,879
and he said, "I don't know
what kind of song | want in the movie,

456
00:30:39,039 --> 00:30:41,030
so go write me a song.”

457
00:30:41,559 --> 00:30:44,869
They came back
with the song Que Sera, Sera.

458
00:30:45,039 --> 00:30:49,032
They played it for Hitchcock.
He listened in somewhat stern silence,

459
00:30:49,639 --> 00:30:51,675
and at the end, he said to them,

460
00:30:51,840 --> 00:30:54,513
"Gentleman, | told you I did not know
what kind of song | wanted.”

461
00:30:54,679 --> 00:30:56,476
"Well, that's the kind of song | want.”

462
00:30:57,000 --> 00:30:59,195
He walked out. That was it.
The song was in the movie,

463
00:30:59,359 --> 00:31:02,157
and it proved to be a tremendous
commercial success,

464
00:31:02,320 --> 00:31:05,232
as well as | think a very
dramatically effective one.

465
00:31:05,400 --> 00:31:09,473
In fact, it won the Academy Award
for the best song of 1956.

466
00:31:09,639 --> 00:31:14,190
# Que sera, sera

467
00:31:14,360 --> 00:31:18,148
# Whatever will be will be

468
00:31:18,319 --> 00:31:21,675
(Hayes) We consciously
thought about Doris Day,

469
00:31:21,839 --> 00:31:25,115
uh, in relationship with her husband,

470
00:31:25,280 --> 00:31:29,273
as far as leaving the professional circuit
that she did.

471
00:31:29,439 --> 00:31:31,430
And she missed something in her life.

472
00:31:31,599 --> 00:31:36,150
And as the events took place,
she got it back,

473
00:31:36,320 --> 00:31:38,880
at least for a short time.

474
00:31:39,039 --> 00:31:42,315
# The future's not ours to see

475
00:31:42,480 --> 00:31:45,950
# Que sera, sera

476
00:31:46,119 --> 00:31:49,236
# What will be, will be #

477
00:31:49,400 --> 00:31:51,391
We accomplished everything
we set out to do

478
00:31:51,559 --> 00:31:53,197
in The Man Who Knew Too Much.

479
00:31:54,559 --> 00:31:58,313
I don't think
we gave up anything at all.

480
00:31:58,480 --> 00:32:01,472
(O'Connell) I loved the movie
The Man Who Knew Too Much.

481
00:32:01,640 --> 00:32:03,835
| didn't remember the first one,
because | was too young,

482
00:32:04,439 --> 00:32:05,872
so | loved the second one.

483
00:32:06,039 --> 00:32:08,837
That's one of my favourite movies.

484
00:32:09,760 --> 00:32:13,719
Movies meant a tremendous amount
to my father and my mother,

485
00:32:14,559 --> 00:32:16,914
cos that was their life.

486
00:32:17,080 --> 00:32:21,835
We keep going to see his movies
because they are pure entertainment.

487
00:32:23,799 --> 00:32:25,630
(Bumstead) He was a master filmmaker.

488
00:32:25,799 --> 00:32:29,428
On every film | worked with Hitch,
he knew every shot -

489
00:32:29,599 --> 00:32:32,477
every shot really was in his mind.

490
00:32:33,479 --> 00:32:36,471
I remember Hitch is sitting there,
you know,

491
00:32:36,640 --> 00:32:38,710
and they're lighting,

492
00:32:38,880 --> 00:32:41,235
and | said,
"Hitch, what are you thinking about?”

493
00:32:38,880 --> 00:32:42,429
And he says,
"I am thinking about my next film.”